• 1674: heredado por Maria de Knuijt, Delft de Pieter van Ruijven
  
• 1681: heredado por Magdalena van Ruijven de Maria de Knuijt
  
• 1682: heredado por Jacob Dissius de Magdalena van Ruijven
  
• 16 ñiqin mayukillapi 1696 watapi: purchased by DesconocidoUnknown at the sale of the collection of Jacob Dissius
  
• 1881: comprado por Arnoldus Andries des Tombe a Braams
  
• 1881: lent to Mauritshuis by Arnoldus Andries des Tombe
  
• 1902: bequeathed to Mauritshuis by Arnoldus Andries des Tombe
  

• Johannes Vermeer, Mauritshuis, 12 ñiqin nuwimripi 1995 watapi - 2 ñiqin hunyupi 1996 watapi 
• The public and the private in the age of Vermeer, Ōsaka, 4 ñiqin awrilpi 2000 watapi - 2 ñiqin hulyupi 2000 watapi
• Vermeer, Rembrandt, and Hals, San Francisco, 22 ñiqin nuwimripi 2013 watapi - 19 ñiqin hunyupi 2014 watapi
• Vermeer, 10 ñiqin phiwrirupi 2023 watapi - 30 ñiqin marsupi 2023 watapi

Monograma del artista parte alta izquierda:

• English: The painting is an example of a tronie, a common genre of the time depicting stock characters rather than any given individual. The provenance of this painting before 1881 is uncertain, although in 1696 twenty-one paintings by Vermeer were sold from the estate of the Delft printer Jacob Dissius, comprising more than half of Vermeer's known ouevre today. The catalogue described three tronies including "A tronie in Antique Dress, exceptionally artful".^[2] This could well be Girl with a Pearl Earring.^[3]:44 The painting was sold at the Hague in 1881 to Arnoldus des Tombe for the staggeringly cheap price of two guilders (roughly a day-labourer's wage at the time) plus the buyer's premium of thirty cents. Tombe was bidding on the advice of the noted Dutch art historian and conservationist Victor de Stuers. At Tombe's death in 1902, it transpired that he had secretly bequeathed twelve of his painting to the Maurtishuis, including Girl with a Pearl Earring. The painting was restored in 1960, and again in 1994-1995 when a special gallery was constructed to allow visitors to see the restoration in progress. During the latter restoration, research established that the background had been painted in a glossy translucent green over a black underpaint. The pigment of the green has faded, resulting in the almost uniform dark background we see today.^[3]:49 The blue turban itself is painted in natural ultramarine, a fabulously expensive pigment made from crushed lapislázuli.

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